Zac Posen Resort 2015: All That’s Glamorous Isn’t Gold

Zac Posen knows a fashion. Despite his glamour namesake, he infused his more-moderately priced ZAC by Zac Posen line with more graphic and sportif details for resort 2015. He showed a cropped sweater with an electric stripe racing down the arm, a blazer-bomber hybrid, and splashed geometric motifs across matching skirts-sets and two-piece knits with their companion drop-waist tennis dress.
Also present was the male/female dichotomy popular of designers like Kors this resort season.

Though, Posen looked to denim and corduroy rather than cargo and twill to reference the ‘boy’ and curve-clinging evening wear instead of pastel puff-coats to reference the ‘girl.’ To date, it is arguably one of the most wearable interpretations of the style to appear this resort season. Posen’s layering of the ‘boy’ clothing keeps the items consistent with the ethos of the brand, essentialy a celebration of the woman and her body–note Posen’s use of Crystal Renn: his models are not just a hanger for the clothes, but an equally important raw material of the oval ‘look.’ The woman is one of the many layers of his clothing .

To point–Posen popped a waist hugging crop top over a silk blouse and paired them both under a blazer with a nipped-in waist. The clothing pieces themselves are casual and masculine, yet when worn and layered to hug Renn’s curves the ‘whole’ image is sexy and feminine. In this, Posen also successfully follows the ‘perfect without trying’ trend. Renn makes the clothing sexy, but she can only because Posen crafted the clothing to allow her to do so . He neither binds Renn’s curves in the above-mentioned look (though he does in others) or shows any skin from the neck to ankle, yet the layering still gives her a sexy shape. Marissa Webb used the same layering tactic to doll-up her ‘boy’ items.
When the looks veered to the curve-hugging, Posen spared no detail in making them ultra-flattering. His signature seaming, what he says “distinguishes a designer collection at an aces sable price point from fast-fashion,”drew the eye down and around the curves of the blue-knit dress under a cropped sweater, and vertically down the center of a high-neck top paired above a pencil skirt with side detailing, rather than across the body horizontally.

Similarly, the dye job of this indigo look shaded the sides of the top a darker color that lightened-by-gradient as the traveled to the center of the body. It drenched her body in fake shadow and light, ultimately whittling it’s width.Though Renn is far-from-ordinary, Posen’s chose of a muse with some resemblance to the woman who will buy his clothing is commercially smart for a moderately-priced line. Patterns must be simplified in order to spare construction costs. What better way to give simple knits life than to place them on a form with curves that create eye movement and excitement? Renn is also a safe choice for creating buyer loyalty. Though her body is not average, it is far closer to the average woman’s body than the twig shapes normally swathed in designer duds. The less distance between the wearer’s perceived image of themselves in the clothing to the actual, the better their attitude of the brand.Posen knows a fashion; but he also knows how to keep his name in-fashion.